Read the book or select individual chapters below.

Contents

From Dancing to Listening (2019)         Introduction - Liz Doherty and Fintan Vallely

  1. Fiddlers, dancing, art and utility: what isn’t traditional? - Neil V. Rosenberg
  2. ‘The concert era’ – innovation in Hardanger fiddling around 1900 - Håkon Asheim
  3. Square sets as ‘folk’ dance in Cape Breton community life - Jørn Borggreen 
  4. Néillidh Boyle: replacing traditional concepts of storytelling in exploration of the acoustic art - Katie Boyle
  5. Participatory music in the Irish Gaeltacht - Éamonn Costello
  6. Revival of ‘crooked’ fiddle tunes in the performance of contemporary Quebec traditional music - Jean Duval
  7. The great divide: recent trends in the technical approach to the fiddle in Norway - Ånon Egeland
  8. On first hearing: the John Junner Collection of Scottish and Irish music recordings - Stuart Eydmann
  9. Galician fiddle versus tambourine - Alfonso Franco
  10. The status of the master-fiddler in eighteenth-century Scotland - Ronnie Gibson
  11. Foot-oriented fiddling among the Mississippi Choctaw: R. J. Willis and the house dance - Chris Goertzen
  12. Joe Holmes: the singing North Antrim fiddler - Len Graham
  13. Truth, beauty and authenticity in folk music - Ingrid Hamberg
  14. Follow the band: playing old-time tunes in new performance contexts - Gregory Hansen
  15. More than buzzing bluebottles: new contexts for Irish céilí bands - Daithí Kearney
  16. Traditional style: the student singer and the folk industry - Sandra Kerr 
  17. ‘Listen how the fiddle cries and laughs’: traditional Lithuanian fiddling in Soviet-era Siberia - Gaila Kirdienė
  18. Arranging traditional Norwegian Hardanger fiddle tunes - Ragnhild Knudsen
  19. New directions in contemporary fiddle playing in Norway - Gjermund Kolltveit
  20. The Donegal ‘Highland’ tunes: origins and movement of a dance-driven genre - Caoimhín Mac Aoidh
  21. A favourite Scotch measure: the relationship between a group of Scottish solo dances and the tune ‘The Flowers of Edinburgh’ - Mats Melin
  22. ‘Fiddle icons confidential’: the making of a portrait - Nicole Murray
  23. ‘Bhíodh muid ag damhsa go maidin’: dance, music, and community in Árainn - Deirdre Ní Chonghaile
  24. Scottish fiddle music in Australia in the twentieth century - Emma Nixon
  25. The fiddle as a symbolic creative therapeutic tool in music therapy - Josie Nugent
  26. Off the record: Irish traditional musicians and the music industry - Leah O’Brien Bernini
  27. Change and stability in Irish-American-Newfoundland fiddle tunes - Evelyn Osborne
  28. Cape Breton ‘crossroads’: cultural tourism, and the nature of ‘traditional’ - Janine Randall
  29. The FiddleLights project: an artist’s recording of bow-hand movements in fiddle tunes? - Elisa Sereno-Janz
  30. Constraint and innovation in the traditional fiddle repertoire of Cape Breton - Sally Sommers Smith
  31. ‘Jack is yet alive’: fiddle lessons in Shetland Isles schools, 1973–1985 - Pam Swing
  32. Examining the Irish connection in the southern American fiddle repertoire - Paul Wells